The volumetric representation of data appears to have been drawn from the expertise of the Centre for Medical Image Science at Linköpings university . The interaction/installation/industrial design concept and production appears to be drawn from the expertise of the SII. These two elements of the project come together under the banner of the intriguing Visualisation Centre in Norrköping which includes presentations on Swedish innovation in visualisation, educational workshops, a cinema, and a dome projection system as well as providing an umbrella (in terms of funding and research) for visualisation projects. The Centre is closely associated with the  Visualisation Information Technology and Applications centre at inköpings university who is also involved in the development of the project.

Bystander is a multichannel interactive video, sound and interactive installation by Australian artists Kate Richards and Ross Gibson. Bystander is one of the Life After Wartime suite which includes works; Crime Scene, LAW Live, Darkness Loiters, and the LAW CD-ROM. Bystander is the final work of the suite all of which is based on an unsorted and poorly documented archive of post-war crime scene and police photographs. Richards and Gibson have used these evocative images as the basis for a fictional narrative . That narrative  unfolds according to the participants movement within the installation space and their interaction. A ‘kinaesthetic particle animation’ responds, reflects and feeds back on the relation between body and archive. The development of the narrative is keyed to the quality of movements of bodies in the space. A still and attentive participant unlocks a deeper and more focussed narrative unfolding while the hyperactive participant realise a more fragmented and playful experience.

The work establishes a complex play between a societal perception and response to a diffuse, arbitrary, and perhaps ambient criminality and violence and the more complex and highly contextual set of relations that have produced such an archive. In the process Bystander posits intriguing questions about the nature of the archive, narrative, technology (perhaps including the former two but extending to the institution, interaction, photography), and affect.

The Korsakow non-linear video system has been central to the groups work – Originally designed by New Media artist Florian Thalhofer – the system was further developed in conjunction with CINER-G. Matt Soar is the principle investigator on this project is a major contributor to a growing community of users.

A story from the Concordia University Joural regarding the work of the Research Group, its relation to the Korsokow project, and its use in teaching non-linear video can be found here.

He is the founder of Transmute, the interdisciplinary collective behind Intimate Transactions, an interactive installation that has been exhibited all over the world, where two people in geographically separate spaces inhabit and interact in a shared virtual space.

She has performed audio/visual work with artists like Chris Caines, Shannon O’Neill and Ben Byrne. She has curated collaborative performance events like Semaphore and is also Co-Director of the Firstdraft Gallery.

In many of her pieces a live physical presence central to the work, where the audience’s movement and interaction with the installation directly affects the space. In Potential Energy, where a line of sensors on the wall set into movement the line of chains opposite, the audience functions as triggers. In The Real Thing, a large-scale kaleidoscope where the viewer’s body not only triggers the installation but becomes the content for it, the work literally cannot function without the presence of an audience, as it is their body that is captured as an image, processed and projected as the kaleidoscopic content shifts and changes with the person’s movement.

She has collaborated with performers, writers, video artists and sound artists like Talia Linz, Eva Mueller, Young-Ah Noh, Matthias Erian, Muse Me and Nick Mariette, and participated in residencies ranging from CarriageWorks in Sydney to the Transmediale: Digital Culture Festival in Berlin.